Art Basel's official annual publication captures and documents the exhibitions in Basel, Miami Beach, and Hong Kong, and goes beyond them, featuring interviews, portfolios,
essays about contemporary art, and personal highlights from artists, curators, collectors and museum directors.
Since then, she has published reviews, features and
essays about contemporary art.
Not exact matches
5 Storr, whose
essay is full of perceptive comments
about Drexler's work (as when he notes how the «vernacular» quality of her colors evokes «sideshow signage») is certainly correct in making the connection between Drexler and her abstract
contemporaries, but we shouldn't let the existence of such strong affinities (whether with Pop or with abstract styles) distract us from the distinctive qualities of Drexler's
art, especially when it comes to materials and process.
If you've ever taken a course
about modern and
contemporary art history, chances are you know that Minimalist sculptor Donald Judd wrote the lively
essay «Specific Objects» in 1965.
Everything is going to be alright, Elizabeth Cherry Gallery, curated by Bob Nickas, Tucson, Arizona, USA Fresh: Recent Acquisitions, Albright - Knox
Art Gallery, Buffalo, New York, USA Works on Paper From Acconci to Zittel, Victoria Miro Gallery, London, England Next Wave Prints v. 2.0, Elias Fine
Art, Allston, Massachusetts, USA New Paintings, Wayne Gonzales, Jacqueline Humphries, Jonathan Lasker, Blake Rayne, Dan Walsh, Kevin Bruk Gallery, Miami, USA 2000 Drawings & Photographs, Matthew Marks Gallery, New York, USA What's So Funny
About Color, Elias Fine
Art, Boston, USA Glee: Painting Now, The Aldrich Museum of
Contemporary Art, Ridgefield, CT Palm Beach Institute of
Contemporary Art, Organized by Amy Cappellazzo and Jessica Hough), Florida, USA PICT: Digital Image Painting, Banff Centre for the
Arts, curated by Yvonne Force and Carmen Zita) Alberta, Canada Paula Cooper Gallery, New York, with R. Grosvenor, R. Lichtenstein, R. McBride and D. Walsh, Tomio Koyama Gallery, Tokyo, Japan Hex Enduction Hour, Team Gallery, New York, USA (Curated by Bob Nickas)(212), Gary Tatintsian Gallery, New York (Organized by Irena Popiashvili, catalogue with
essay by Christine Kim) Bit By Bit: Painting & Digital Culture, Numark Gallery, Washington, USA 1999 Sweet & Sour, Galerie
Art & Public, Geneva, Switzerland Digital Sites, Numark Gallery, Washington, USA 1998 Brite Magic, Islip
Art Museum, East Islip, New York, USA (Curated by Carolanna Parlatto) 1997 Diamond Dogs, Team Gallery, New York, USA Super Body, Tomio Koyama Gallery, Tokyo, Japan 1996 Face and Figure in
Contemporary Art, Museum of Fine
Arts, Boston, USA AbFab, Feature, New York, USA Mutate / Loving the New Flesh, Lauren Wittels Gallery, New York, USA (Curated by Michael Cohen) Supastore de Luxe, UP & Co., New York, USA (Curated by Sarah Staton)
1992 Doubletake: Collective Memory and Current
Art, Hayward Gallery, London, England,
essays by Lynne Cooke, Bice Curiger and Greg Hilty, London: South Bank Centre / Parkett Stephan Balkenhol: Uber Menschen und Skulpturen /
About Men and Sculpture, texts by Stephan Balkenhol, James Lingwood and Jeff Wall; interviews by Ulrich Ruckriem and Thomas Schutte, Stuttgart: Edition Cantz Witte de With Center for
Contemporary Art, Rotterdam, The Netherlands
In this beautifully designed and lavishly illustrated book,
art lovers learn
about an important aspect of the history of the Houston
contemporary art scene, while scholars gain insight into the history of the
contemporary exhibition through a series of texts:
essays, facts, reminiscences and anecdotes.
Her work has been written
about in the Los Angeles Times and
Art in America, and her
essay «The Serial Attitude Redux» was recently published in X-TRA, Quarterly for
Contemporary Art (Winter 2010 / Volume 12.)
Legendary feminist
art historian Linda Nochlin and
art curator Maura Reilly are joined by
contemporary women artists for a discussion moderated by Arezoo Moseni
about the positions of women artists and women in the
art world today and how they have changed since the 1971 publication of Nochlin's landmark
essay «Why Have There Been No Great Women Artists?»
Based on the thoroughness of these class notes, and also on the syllabuses for the Asian
art courses that Reinhardt took from Alfred Salmony at the IFA in the late 1940s, the essentializing of Reinhardt's published
essays was intentional, part of a larger strategy to promote his own ideas
about contemporary abstract painting by means of paintings from a foreign past.
Accompanying the exhibition is an illustrated catalogue, published by the Museum of
Contemporary Art Chicago (MCA), with
essays by Michael Darling and Chrissie Iles, the Whitney Museum of American
Art Anne and Joel Ehrenkranz Curator, and a creative
essay by the novelist Kate Zambreno, noted for her writings
about women and myths of modernism.
About Barbara Rose Barbara Rose is the author of American
Art Since 1900, American Painting, Autocritique: Essays on Art and Anti-Art and many other books and catalogues on modern and contemporary a
Art Since 1900, American Painting, Autocritique:
Essays on
Art and Anti-Art and many other books and catalogues on modern and contemporary a
Art and Anti-
Art and many other books and catalogues on modern and contemporary a
Art and many other books and catalogues on modern and
contemporary artart.
In 2010 he began an online project called «The Silo» to publish brief
essays about the artists he has rediscovered or, in some cases, reinterpreted - what he calls a «revisionist dictionary of
contemporary art.»
His books and
essays include When Pain Strikes, an anthology
about pain and its relief, (University of Minnesota Press,, 1999); Bird Radio, (KW Institute for Contemporary Art, Berlin, Germany, 2007); The Guide to the Flora and Fauna Information Station, (ICA, London, England, 2008); Three Books and an Audio CD About Plants and Animals and War; Dogs and Boats and Airplanes told in the form of Ivan the Terrible, (Space Poetry, Copenhagen, Denmark, 2
about pain and its relief, (University of Minnesota Press,, 1999); Bird Radio, (KW Institute for
Contemporary Art, Berlin, Germany, 2007); The Guide to the Flora and Fauna Information Station, (ICA, London, England, 2008); Three Books and an Audio CD
About Plants and Animals and War; Dogs and Boats and Airplanes told in the form of Ivan the Terrible, (Space Poetry, Copenhagen, Denmark, 2
About Plants and Animals and War; Dogs and Boats and Airplanes told in the form of Ivan the Terrible, (Space Poetry, Copenhagen, Denmark, 2011).
A conservation
essay offers two case studies that explore preservation issues and address larger concerns
about the challenges of conserving
contemporary art and organic materials.
The catalog for Shinique Smith: Menagerie at the Museum of
Contemporary Art in North Miami contains an
essay by the forever groovy DJ Spooky, aka Paul D. Miller, who writes
about Smiths knack for synthesizing mediums, her stature in the post - Facebook / YouTube generation and the «libidinal economy of «scripting autobiographical statements into her work.
The Harvard Society for
Contemporary Art — Exhibition Timeline and Artists 1929 - 1932 Many
essays have been written
about Lincoln Kirstein (1907 — 1996), John Walker III (1906 — 1995), and -LSB-...]
My admiration led to me writing a catalogue
essay for an exhibition he did with Peter Doig at the Santa Monica Museum of
Contemporary Art, and that led to visiting his studio over several months to research a feature
about the creation of his - now famous - painting installation The Upper Room.
Helen has written
about contemporary art for a wide range of publications and journals and is currently contributing to an
essay for inclusion in the first Lubaina Himid monograph.
Olga Sureda is author of several
essays about Curatorial Practices and
Contemporary Art published in different countries, such as the Philippines, Egypt, Portugal and Spain.
The Article category of
art writing is probably one most people are familiar with if you read
essays, magazine features, and extended exhibition reviews
about contemporary art.
Artist and author Douglas Coupland has written a personal response to Hanson's work that is a testament to its enduring legacy and Ruba Katrib's
essay Surface Identity provides insightful links between Hanson's practice and its relationship to ongoing concerns
about the presence of the body in
contemporary art.
Edith Devaney,
Contemporary Curator at the Royal Academy of
Arts, London, and author of the catalogue
essay for Milton Avery at Victoria Miro Mayfair (7 June - 29 July 2017) introduces Avery's work and talks
about the exhibition.
Chicago
About Blog Unsurpassed in coverage of
contemporary art in Chicago, including profiles of artists and gallerists, features,
essays and more reviews of Chicago
art shows.